Cupe

+rep'd, good post

read a couple reviews on the two. there's probably some here. there isn't much difference really. the mk2's are what i want to have as my final setup for life but i can't afford to replace my current setup yet

Mk5's

sounds good. be good if you could remaster them so there wasn't so much white noise but yea they work together

So we'll go with reasonable budget for good quality gear.

budget?

id probs go to a store then and get free cd

Constantly on the look out for a powerful, project studio monitoring set-up DJmag thought it would take a look at M Audio’s DSM3 monitors married up with the SBX10 subwoofer to see if this combo could provide serious earth-moving sounds for producers dabbling in electronic dance music who need big room sound, but in a space-conscious environment. I remember the day when I first walked into a professional studio and experienced the wall of sound that was the main monitoring system, huge 15-inch sub woofers that would pound the living daylights out of my ears. This was serious sound — only found in the super studios — that many a producer would be envious of. Nowadays, studios like this are in the domain of the uber professional and cost big bucks to hire day to day — not really that practical for the majority of dance producers. A lot of killer tunes have been created in bedrooms or project studios and space is at a premium. Studios and producers still need to find big room sound from their monitors, but at a fraction of the cost and space. What we are going to look at is how to create this big room sound at a fraction of the cost and with out the need for lots of space. The speakers we are going to use to demonstrate this are M Audio’s DSM3 High Resolution monitors and their SBX10 Subwoofer, but any combination of studio speaker and woofer can work. Bass In The Place The DSM3 monitors can work well as full-range speakers and have a nice overall sound to them. But when producing tracks and throwing a lot of bass through them at high volumes, it can be very taxing on them, and at worse, tiring on the ears — not good. This is the same for any near-field monitors. Using them together with the SBX10, or any subwoofer, will allow your monitors to reproduce full-range signals at higher levels without stressing the internal components, meaning the speakers aren’t taxed and your ears won’t get bashed — that’s the scientific bit explained! With this in mind, our task was to see if we could get a large sound from these relatively small speakers and subwoofer in comparison to the studio beasts we are trying to mimic, so we went about creating a Skream-style dubstep track, loaded with bass and subs to tear apart any dancefloor. As mentioned, the SBX10 was going to handle the bass duties whilst the DSM3s captured the rest of the sound. Straight away, when plugged in and not fine-tuned to the room, the sound that came from our combo was immense. It tore apart our test studio, the bass response was awesome and we spent a good few hours on full blast with the woofer turned up to 11, just laughing at how much bass was coming through the system. Producers have to be careful here, as if the woofer isn’t tuned properly you may think you’re getting too much bass in the mix and compensate for this by rolling it off in your tracks — the result being a track that is bass light. The woofer should be used to get a feel on how your track would sound on a big rig — don’t mix on it — the handy foot switch will turn it on and off. The main monitors are only selected on occasion, whilst the body of the mix and track development are done on the near-fields. Utilising the woofer bypass will create this effect: let the DSM3s carry most of the mix duties and then for that little more oomph, smash in the woofer. Set up the subwoofer to work with the monitors by setting the crossovers on the back of the sub, so that when the woofer is on, it’s still possible to hear all the facets of the sound of the track coming through the monitoring system — punchy kicks, tight bass, defined midrange — not just an overpowering sub bass drone. This will re-enforce the bass frequencies that are coming through the system so that the sound still has clarity. The technical minded amongst us will also know that if a subwoofer is placed close to a wall in a small room, it can effectively turn the room into one gigantic speaker so take care with placement and remember it’s all about the tuning. Once tuned correctly, the combination of near-fields and sub — as in the DSM3 and SHX10s — can definitely give the desired effect of creating a very big sound ideal for electronic dance music and playing out in a club. Source: djmag

Brooklyn, NYC duo Wolf + Lamb aren't just a DJ/production outfit. They're a movement, a label, a club, and extended family of like-minded artists, offering a passionate, soulful techno and electronic disco alternative to the plodding tribal drums of tech house and the harder sound of Berlin. And with a new artist album ready to drop, they've come for our hearts, minds and dancing feet… Few artists inspire a devotion bordering on the religious. But the gospel according to Wolf + Lamb has already spread far and wide, their near mythical Brooklyn parties at "six star hotel" The Marcy attracting an international cast of like-minded friends, adopted family and disciples, while their series of podcasts and three labels - Wolf + Lamb digital, Wolf + Lamb Black, their re-edit series, and Wolf + Lamb Music - have preached an alternative sound to the plodding tribal drums of tech-house. So the arrival of their debut album, 'Love Someone', out 14th June on Wolf + Lamb, and its preceding Wolf + Lamb Experience party in London, a showcase of the labels' unique musical talents and organisation, not only sticks the pin firmly back in New York as an innovative centre of nightlife, following years of redundancy during Giuliani's reign. It also offers an alternative paradigm to Berlin's stranglehold on the UK's clubbing imagination. Desert Trip As with every great spiritual adventure, however, their journey starts with a trip into the desert. "We went to Burning Man in 2003," says Zev Eisenberg, the 'Wolf' of Wolf + Lamb next to Gadi Mizrahi's 'Lamb', the literal translations of their Hebrew names. Two New York-born Jews, the pair met in 2001 having both made a name as DJs at small-scale parties, Zev spinning deep house and trance, Gadi playing hip-hop. But it was the advent of minimal techno, the first sound that they both bonded over (and immortalised in their 'Since when do Jews make techno?' stickers), and their experiences at Burning Man which began the process of gestation that gave birth to their current incarnation as purveyors of deep, lush house and disco. "The first two years you just kind of watch and figure out where you fit in," Gadi explains about the festival that appears for a week in the middle of the Nevada desert as we have lunch following a first look at the venue for their party. "There's nothing like it in the world. It's literally like being on Mars, you just don't know what to do or how to express yourself." In 2005, while wandering through the Mad Max landscape, Gadi found an artist who'd created a 40 foot version of Marcel Duchamp's 'Fountain', essentially a giant toilet - the following year, they played their first gig there in it. "It's like a urinal lying on its back and then there's a drain pipe, which is where you walk in," explains Zev excitedly. "It was so amazing watching people crawl in and being part of their bizarre Burning Man experience. The music was also something people hadn't heard before because out there it's really heavy, West coast, cheesy-ish kind of breaks. We were playing minimal." "It was kind of like Kompakt," interjects Gadi. "More emotional, minimal trance." Having performed again every year since, including as part of an inflatable art and sound installation in 2007, they now have residencies at numerous soundsystems. But it was Burning Man's blend of vast, unbridled natural beauty, unfettered creativity and extreme hedonism that seems the beginning of Wolf + Lamb becoming something bigger than just a label or a pair of DJs. "We started to really like the morning shift when everyone's feeling really great from the whole night and the minimal sound just didn't fit right so then we started wanting to get more warm," says Gadi. "You ended up playing pop music," Zev recalls of 2008's crystallising moment. "That was the one thing that did make sense there, Sade, and that was all we played the whole time. Then when we came back, we went to a friend's cabin to work for a few weeks with a clean slate. We knew we had to make music to work over there because that's the mood we've always been comfortable with. That's when we put out the 'Bear Valley EP'." The Marcy Parallel to this musical rebirth was the founding of The Marcy in 2005, their studio cum home where they also throw parties, in indie-rock's heartland, Williamsburg. Tired of trying to put on parties in New York's bars and clubs, which would want to close at 4am just as the drugs were kicking in but the queue at the bar was dwindling, they had originally hired an old machine shop with the intention of opening it as a venue, moving in simply to help do it up. "Then halfway through, we threw one crazy balls-to-the-wall party, and we realised we weren't going to open a bar," says Zev with a glint. Instead, they embraced Burning Man's idea of user-generated content (a familiar concept to Zev who also works as a web designer), growing it into something that's part Andy Warhol's Factory - filled with friends who are also musicians, many of whom the pair nurtured through their first releases for the label - and part David Mancuso's Loft, the best house party in the world that runs from 11pm till 1pm the next afternoon, and boasts top quality sound. Despite a website depicting The Marcy as an opulent, gaudy hotel, a whimsical idea parodying Zev's work for Trump Towers, the parties are ostensibly put on by friends for friends, label artists such as No Regular Play, Nico AKA Nicolas Jaar, Soul Clap, or Deniz Kurtel - Gadi's girlfriend who is also currently working on a Crosstown Rebels album - playing most parties, often alongside Wolf + Lamb Detroit counterparts such as Seth Troxler and Lee Curtiss. Despite having a capacity of just 200, with only around 50 able to fit into the main room, the pair found a creative way to fit up to 500 people in by hijacking an adjoining lot. "Nobody says anything, it doesn't belong to us!" laughs Zev at this brazenness. "Our friends helped us build steps to access the yard through a window. It's really funny, girls are always slipping in their high heels. It just adds to the whole obvious DIY feel of the place, like you're in our home. At the same time, the sound is pristine. We're really serious about that. The whole thing is really well put together, everything is pro." When the success of the party began attracting unwanted hipsters interested in drinking beer but not dancing, the pair simply introduced an extortionate door charge with friends getting a Marcy hotel room key - made at the same time as their fake website - for cheap entry. "It has this idea that the party supports the building," says Gadi. "So the people who live upstairs do the door. No Regular Play live on the third floor, so they play every party and run the bar. Most of the money goes back into the building to pay rent, which is a really organic way of doing it." "It's the same as this weekend, bring in whoever is around," he says of the approaching London label debut, having just asked Deniz and Zev, neither of whom were originally on the line-up, to stay and play. "Wolf + Lamb is me and Zev, but it's also a family. There's a lot more attention to a community based thing than a label where the people have good ears and they're picking people from all over the world. That's one thing, but this is like an in-house. No Regular Play were brought up from nothing, they had no releases, Nico was brought up from not having any releases, Deniz and Smirk as well. They were all brought up. Other labels pick artists saying, 'this guy is going to be good'. This is like artists who haven't had anything out." "Including us. We didn't have any releases," adds Zev. Love Someone It was as The Marcy was being built that Zev first found out he had cancer, something he is currently recovering from with 'an alternative therapy regime' that includes sauerkraut juice for breakfast. Having recently been in India, and stopped touring due to the excessive amount of equipment needed for his current diet, his illness adds an extra poignancy to both Wolf + Lamb's communal, life-affirming spirit of art and adventure, and the atmospheric content of 'Love Someone', their first joint release since last year's 'Brooklynn EP'. With 'love' a recurring theme at their parties, the album's title track is the most potentially commercial, a glorious slice of looped, filtered disco. But elsewhere Wolf + Lamb pursue their own unique vision of mood and depth that's come to characterise their parties, where the tempo rarely ventures above 120bpm, and they encourage guests to bring their weirdest, favourite records. Opener 'Just For Now' emerges from a primordial soup of reverb and organ, via a burst of what sounds like a show tune, morphing into a brooding, gangster shuffle as a voice contemplates life after committing the irreversible act of murder, "all you can do is continue living life". Yet it's immediately soothed by the slow, bubbling electro bass and 808 handclaps of 'Shoeshine Boogie', a remix of Mock & Toof. 'Want Your Money' appears in two versions, Wolf + Lamb's off-kilter original and a straighter house remix from Dyed Soundorom, while 'Monster Love', a collaboration with Smirk, hints at broken relationships in its jazzy ambience and whispered voices, dissolving and reforming around a wandering double bass. Finally, 'I Know You're Leaving' rides along on a Rhodes until it's flooded by the warming light of a gospel choir declaring, "someday we'll all be free." "Wolf + Lamb is so multi-faceted, we work on everything together, so when it came down to making music over the last few years we've done it separately," admits Gadi of the pair's limited releases together. "We've done everything together over the past five or six years and this is one of the areas where we have our separate time. But it happened that we did make these tracks and we both really liked them. They're all very different so I felt that was good." "It's more of an EP than an album," agrees Zev. "Gadi and I, even though we work really well together putting on the party, sitting in the studio, for some reason, we don't actually do that much of together." Instead, Zev used his convalescence to begin work on a solo album, with a further Wolf + Lamb EP in the pipe-line, and Gadi, as well as DJing and recording solo and with label artists Soul Clap, started his own vinyl-only label, Double Exposure. "If Wolf + Lamb is a religion, Double Exposure is a cult," he announces, and it's a plausible assertion - Gadi, Charlie from Soul Clap and Greg from No Regular Play got Double Exposure tattoos to accompany the Wolf + Lamb cross tattoos both he and Zev have. While success has had its advantages, and given them the ability to pull in a crowd of 500 people at 24 hours notice, like the time Gadi and Deniz persuaded Zev to make an impromptu trip back from India over SKYPE, part of the Wolf + Lamb experience lies in the conditions they've created for themselves at The Marcy. "One of the problems is that there's a Wolf + Lamb monster now of hype so promoters just want to book us. Then we go in and they've clearly never heard what we play and they don't have the crowd for it," Gadi says of his frustration at some recent gigs. "They're always telling us to play harder anywhere outside of London. It's fucking heart-breaking to be in that situation." Pilgrimage In this respect, The Marcy has become like Panorama Bar, the ultimate pilgrimage for thrill-seeking dance tourists looking for an atmosphere and sense of freedom and adventure that's unrepeatable anywhere else. But for Gadi, this is where the Berlin parallel ends. "I don't think Berlin is into what we're doing," he says, despite recent gigs there. "I've seen a few friends move there and get into a completely other genre, really hard. They get taken over by Berlin. You're not going to get booked unless you bang it out, they're taking speed so they're into this hard stuff. Our crowd, even Jamie Jones, has gone into disco and house - Berlin had to choose and they went Berghain. Even harder than where we were a few years ago." Instead, he cites London's Plastic People as the sort of intimate venue suited to the Wolf + Lamb sound. "I saw Theo Parrish and he was like, holy shit, playing Outkast, he was playing everything and it worked. That's the only club I'd love to play." Come their own party, held in the basement of an art gallery in East London that's due to be demolished two weeks later, they're playing Outkast too, alongside a ream of deep house and disco gems like Metro Area's sublime 'Let's Get…', umbrellas placed over the decks to stop the sweat that's literally raining from the low ceiling. With Soul Clap and Wolf + Lamb taking turns behind the decks seemingly as the mood suits them, following No Regular Play's live set, it's the perfect illustration of the instinctive, if it feels good do it, approach that's grown Wolf + Lamb from a pair of techno misfits in the Nevada desert to a coalition of friends carving out new niches in whatever they turn their hands to - something both Gadi and Zev seem genuinely surprised by. At the end of our interview I ask them if there's anything else they want to talk about. "The only thing we haven't spoken about is our future plans because we don't have any," replies Zev. "It's true," adds Gadi. "Who knows!" The only thing you can be sure of is, wherever Wolf + Lamb lead, others are bound to follow. Source: djmag

Dubstep figurehead Skream has gone euphoric, smashed the templates, and upped the tempos. His new album ‘Outside The Box’ confirms he’s not content to be placed in a bracket, and is out to prove the haters wrong with a joyful set designed to resurrect the potency and power of dance music’s golden years. “I’m trying to bring rave back,” says Skream… Remember a few years back? All that hoo-ha about nu-rave? Which sounded so promising but proved to be nothing more than a few indie kids dicking about with synths and desecrating the graves of hardcore classics? What a crock that turned out to be. Luckily, there were some for whom the rave spirit never died, only mutated and evolved into new forms, 2.0 viruses infecting the mainframe of modern electronic music. In 2010, the landscape of dance has become so fecund with new innovations and styles merging and meshing, that genres have become irrelevant again, as they once were in the early years of rave culture, when DJs would think nothing of colliding house drums with breakbeats and ravers would barely blink at the join as they lost themselves in the free rhythms. In addition, the huge megaton riffs and breaks of that era are making a comeback, and the advent of dubstep – one of rave’s most successful progenies, which took many classic hardcore motifs and shaped them into something new – has been instrumental in this. In this light, few other producers could claim such a large influence on the current fulsome state of dance as dubstep figurehead Skream (Olly Jones). Since DJmag last interviewed him in 2007, Skream has gone from hotly-tipped underground hero to stadium subjugating, festival sequestering, smash hit-having household name. One of the few there at dubstep’s inception in the early 2000s, working at Croydon’s garage mecca Big Apple Records, pushing the deeper, darker dubs on the flipside of UKG 12”s to soon-to-be influential, clued-up record-buying regulars, he’s since trail-blazed a path through the UK underground and onto the world stage. Where he’s gone, others have followed, from the initial, entropic, sloping, grimy darkness and bass wobble sound into upbeat, techy future garage grooves, and now beyond into next century electronic funk and freaky new chimeras. Refusing to follow the crowd, Skream has trusted his instincts and creative drive and forged his own way. It’s paid off, and how. Last year, Skream’s ‘Let’s Get Ravey’ remix of La Roux’s ‘In For The Kill’ catapulted him out of a cannon, became an anthem that echoed from Radio 1 daytime playlists, festival fields and big room dancefloors. In short, it made him a star. He arrived. When DJmag meets him one sunny spring afternoon in East London, Skream looks taller, a little older, his youthful face now matured. Still full of exuberant energy, and boundless enthusiasm for the music, there’s also now a different kind of confidence, a charismatic air that suggests someone in control of their own destiny, a steely determinism. He acknowledges that, with the La Roux remix, the Skream phenomenon reached tipping point, and changed his career forever. “It was a big remix. Shit changed, I get bigger shows, the fees went up,” he concedes. “Everything got better. I struggled to get a prime time Radio 1 play before, but now it’s a lot easier. You make a lot more contacts when you make a song like that. More people know who I am now, I guess. There’s more production, it’s all just going well and things are far more high profile now. There’s a lot more eyes on dubstep.” Indeed, dubstep is bigger. Much, much bigger. When Ministry of Sound’s new ‘Sound Of Dubstep’ compilation (once an inconceivable prospect in itself) rides high in the album charts at number six, and a glut of other similarly-themed collections are flooding the market, it’s clear to see that the music is at its zenith. And examine each of these albums’ tracklists, and you’ll see that anthemic remix appearing on them all. “There’s like six dubstep compilations out now!” he boggles. “But it’s still just the beginning, man. There’s a bit of a shitty part at the minute. There’s a lot of shit – how do I put it? – a lot of mirrored artists, people get focused on one sound and don’t try to make it original. They’d rather make it sound like someone more popular. But also, on the back of dubstep, there’s a lot of really interesting just all round music around now, it’s good man.” Source: djmag

Two of the most predominant record labels in dance music, Vandit Records and Armada Music, have announced they’ll be joining forces. Vandit was created back in 2000 by Paul van Dyk and is now home to talents like Alex M.O.R.P.H, Filo and Peri, Thrillseekers, Giuseppe Ottaviani, Jon O’bir, Kuffdam and of course Paul van Dyk himself. Vandit has been right up there with Armada when it came to consistently releasing quality electronic music. Armada was founded in 2003 by Armin van Buuren, Maykel Piron and David Lewis, and has an extensive artist roster consisting of the industry’s leading talents. Now that Vandit, alongside labels like Coldharbour, Re*Brand, Soundpiercing, AVA and more, is also a sub-label of Armada Music what’s next? Will the dominating force of Armada be tamed any time soon? We think this is just the beginning.

yea, warp the fuck out of it and see what u can nut out

pros love the reverse snares. song has a good kick along to it. good buildup like the whisper melody good beat cons would love to hear the whisper flange harder (where it sort of flanges out of a whisper into like a buzzwasp almost... nahmean/) the noise in the second half kind of hurts my brain

yea you'll get a full answer by tomorrow, like i said friday night mang. might be lucky if a techy logs on soon but

erm, i'm not a tech head but i wouldn't wire shit to the same outputs? you need SourceRaver in on this one. and it's Friday night m8 lol, you're lucky anyone's posting

read first post

HE MEANS TEH HARDON COLLIDAR but seriously, the what?

kekekekeke

I'm down for this. Someone get me the tracks

Try using the search for new posts button 'View posts since last visit' or just add threads to your favs if you wanna go back to it. you can also subscribe to threads with 'Watch this topic for replies'

Thanks man, but would it just be that? I can jiggle it about and sometimes it bleeds, sometimes it doesn't.. lol You're being voted for as we speak